 Following a winding path, Coldplay emerges with its own brilliance. COLDPLAY - PARACHUTES (2000) After releasing three EPs (Safety in 1998, and Brothers & Sisters and The Blue Room in 1999), without any successful hits, Coldplay was ready to release its first studio album: Parachutes, their first work released by a major label (Parlophone), which hit UK stores on July 10, 2000. With the single "Yellow," the band achieved worldwide fame and became one of the standout groups in British alternative rock. The album opens with "Don't Panic," a quick, acoustic song with beachy tones and lots of harmony: "We live in a beautiful world... Yeah, we do..." Chris Martin highlights with his soft voice, asking everyone to stay calm, as he optimistically believes everyone has someone to lean on. It's a pleasant introduction that serves as an entry point for both the album and new fans. "Shiver" follows with an introduction that gradually builds until the band enters a momentarily fast-paced rhythm, only to slow down and let Martin deliver his verses: "I sing it loud and clear... and I’ll always be waiting for you...," he says, while his voice reaches for high notes as if sung with eyes closed, maintaining his composed posture. It’s a somewhat lengthy song with a bold chorus but shows a lyrical depth rarely seen in such young artists. With a mysterious introduction, "Spies" presents Chris Martin singing softly accompanied by a guitar. His voice has more presence (compared to the previous two tracks), as if singing with more conviction, stating: "I awake to find no one is free... we're all fugitives...," highlighting the real world where people are trapped by the system. The instrumentation eventually builds, but the song’s overall vibe is mellow, as if sung in a small, enclosed space with water around, blending reflection with relaxation, a mood echoed in "Sparks." Guy Berryman’s bass takes the spotlight, setting an even slower pace, seeking tenderness in life’s eyes while the band floats in their emotional state, with Martin holding a high note without disturbing anyone. It’s the album’s most pleasing moment, preparing for the album’s biggest hit: "Yellow," with its few repeated guitar chords, celebrating the stars' brilliance: "Look at the stars, see how they shine for you...," Martin recites to someone special in the most commercial song on the album (without losing its spontaneity). Next, the piano shines in "Trouble" with a captivating introduction: its notes soon become accompanying chords for Martin to sing his verses with sincerity, until the melody of the chorus surprises with the line: "I never meant to cause you trouble... I never meant to do you harm...," he says, waiting for the band to take over momentarily; however, its ending feels a bit stretched, but overall, it’s the most interesting song of the journey.
With just a few seconds, the title track "Parachutes" enters the scene with only a timid voice and a brief strumming of the guitar, serving as a sigh between tracks and quickly leaving a longing behind, making it the album’s most precious track. Meanwhile, "High Speed" tries to be the band's most alternative version, like an experimental recording seeking new ideas after "Spies" set the direction. It’s a rather fragile song, as if about to burst like a bubble, trying to be noticed amid a winding path, until "We Never Change" takes control with its nobility, continuing the theme started in "Sparks," but forging its own path: "And I want to fly and never come down... I want to live life and have friends around...," Martin opens up with notable serenity, making it the best acoustic song on the album. "We never change, do we? No, no...," concludes Martin, exuding tenderness, compassion, and a touch of melancholy. The piano returns to prominence in the distinct "Everything's Not Lost": with marked chords, Martin delivers his verses until a brief piano solo leads to a guitar solo, with the bass gradually gaining space. However, during its construction, the band seems to forget a member, leaving the accompaniment incomplete, but they all find common ground when the long rotation sets in: "Oh, oh, yeah... come on yeah...," Martin repeats exhaustively, emphasizing that not everything is lost. Its ending gives way to the hidden track "Life Is for Living," which plays a similar role to the title track earlier, but with the maturity gained from the journey: "...if I made a mistake, I'm sorry... don't let it stand in our way...," Martin pleads, concluding with: "...life is for living... we all know... and I don't want to live it alone...," he finishes, while his vocal rise ("ah, ah, ah...") allows the band’s final entry, harmoniously seeking a better path to tread. ★★★½ (out of 5 stars) Coldplay Reviews: Parachutes (2000), A Rush of Blood to the Head (2002), X&Y (2005), Viva la Vida or Death and All His Friends (2008), Mylo Xyloto (2011), Ghost Stories (2014), A Head Full of Dreams (2015), Kaleidoscope EP (2017), Everyday Life (2019), Music of the Spheres (2021), and Moon Music (2024). |
